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The French Flute School: a Flute Curriculum

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The French Flute School: a Flute Curriculum Belmont University Belmont Digital Repository Recital Papers School of Music Summer 8-10-2021 The French Flute School: A Flute Curriculum Jessica Benevento Belmont University, [email protected] Follow this and additional works at: https://repository.belmont.edu/music_recitals Part of the Music Performance Commons Recommended Citation Benevento, Jessica, "The French Flute School: A Flute Curriculum" (2021). Recital Papers. 18. https://repository.belmont.edu/music_recitals/18 This Thesis is brought to you for free and open access by the School of Music at Belmont Digital Repository. It has been accepted for inclusion in Recital Papers by an authorized administrator of Belmont Digital Repository. For more information, please contact [email protected]. THE FRENCH SCHOOL: A FLUTE CURRICULUM BY JESSICA BENEVENTO A RESEARCH PAPER Submitted in partial fulfillment of the requirements for the degree of Master of Music in Instrumental Pedagogy in the School of Music of the College of Music and Performing Arts Belmont University NASHVILLE, TENNESSEE August 2021 Submitted By Jessica Benevento in partial fulfillment of the requirements for the degree of Master of Music in Instrumental Pedagogy. Accepted on behalf of the Graduate Faculty of the School of Music by the Mentoring Committee: _____________________________ Barry Kraus, D.M.A. Second Mentor ____________ _____________________________ Date8/9/2021 Kathryn Paradise, M.M. Director of Graduate Studies in Music ii Contents Illustrations .......................................................................................................................... v Acknowledgements ............................................................................................................. x Presentation of Material Chapter 1: An Introduction to the French Flute School .......................................... 1 Marcel Joseph Moyse (1889-1994) ............................................................. 1 Marcel Moyse, the Pedagogue .................................................................. 10 Tone Development .................................................................................... 11 Technique .................................................................................................. 19 Marcel Moyse’s Legacy: Louis Moyse (1912-2007) ................................ 25 Chapter 2: French Baroque (1600-1750) ............................................................... 31 Jacques-Martin Hotteterre (1674-1763) .................................................... 32 Principles of the Flute by Jacques-Martin Hotteterre ............................... 34 Hotteterre’s Suite No. 3 in G Major, Op. 2 ............................................... 43 Chapter 3: Classical (1750-1820) .......................................................................... 48 François Devienne (1759-1803) ................................................................ 50 New Theoretical and Practical Method for the Flute by François Devienne ................................................................................................................... 54 Flute Concertos .......................................................................................... 65 Chapter 4: Romantic (1810-1910) ......................................................................... 70 Joseph-Henri Altès (1826-1895) ............................................................... 77 Famous Complete Flute Method by Henri Altès ....................................... 79 Camille Saint-Saëns and Airs de Ballet D’Ascanio (1890) ....................... 92 Chapter 5: The Paris Conservatory and the French Flute School ......................... 95 Paul Taffanel (1844-1908) ........................................................................ 96 Philippe Gaubert (1879-1941) ................................................................... 98 Complete Method for Flute by Paul Taffanel and Philippe Gaubert ......... 98 Andante Pastoral et Scherzettino ............................................................ 104 Chapter 6: The Modern Era ................................................................................. 107 Density 21.5 ............................................................................................. 109 André Jolivet (1905-1974) ...................................................................... 110 Cinq Incantations .................................................................................... 113 iii iv Chapter 7: Conclusion ......................................................................................... 118 Appendix: Graded Lists .................................................................................................. 120 Methods and Studies ............................................................................................ 122 Repertoire ............................................................................................................ 124 References ...................................................................................................................... 129 Illustrations Figures 1.1. Daily Exercises, practice schedule (Moyse 1923, III) ................................................ 19 2.1. Three-Piece Flute or Hotteterre Flute (Boland 1998, 5) ............................................. 32 2.2. Four-Piece Flute (Boland 1998, 5) ............................................................................. 32 2.3. Portrait of Jacques-Martin Hotteterre playing the transverse flute seen in Principles of the Flute (Hotteterre 1968, 8) ........................................................................................ 36 3.1. Six-keyed flute (Wilson 2020) ................................................................................... 50 4.1. Boehm’s 1831 Flute (Toff 2012, 50) .......................................................................... 71 4.2. Boehm’s 1832 flute (Toff 2012, 51) ........................................................................... 73 4.3. Boehm’s 1847 flute (Powell 2002, 182) ..................................................................... 76 4.4. Briccialdi B-flat Thumb (Toff 2012, 55) .................................................................... 77 4.5. C Major fingering chart (Altès 1918, 18) ................................................................... 81 4.6. “Fingerings to Facilitate the Performance and Adjust the Pitch of Certain Notes” (Altès 1956, 92) ................................................................................................................. 84 v vi Examples 1.1. On Sonority, Section 1, descending half steps (Moyse 1934, 6) ................................ 12 1.2. On Sonority, Section 1, ascending major thirds (Moyse 1934, 9) .............................. 12 1.3. On Sonority, Section 2; exercises A, B, C, D, and E (Moyse 1934, 10-11) ............... 14 1.4. On Sonority, Section 3, exercise 1 (Moyse 1934, 15) ................................................ 15 1.5. On Sonority, Section 3, exercise 2 (Moyse 1934, 15) ................................................ 15 1.6. On Sonority, Section 3, exercise 3 (Moyse 1934, 15) ................................................ 15 1.7. On Sonority, Section 3, exercise 4 (Moyse 1934, 16) ................................................ 16 1.8. On Sonority, Section 4 (Moyse 1934, 23) .................................................................. 16 1.9. Scales and Arpeggios (Moyse 1921, 1) ...................................................................... 21 1.10. Studies and Technical Exercises, No. 1 (Moyse 1921, 4) ........................................ 21 1.11. Studies and Technical Exercises, No. 1 articulations (Moyse 1921, 4) ................... 21 1.12. School of Articulation, No. 14 (Moyse 1928, 5) ...................................................... 22 1.13. School of Articulation, No. 14 common error (Moyse 1928, 5) ............................... 22 1.14. 24 Little Melodious Studies, No. 1 (Moyse 1932, 1) ................................................ 23 1.15. 24 Little Melodious Studies, No. 1 variation (Moyse 1932, 1) ................................. 23 1.16. The First Step in Flute Playing, First Part, No. 1 in C Major (Moyse 1983, 4) ....... 28 1.17. The Flutist's Primer, Part 1, C Major (Moyse 1979, 2) ............................................ 29 1.18. La Grande Velocité (Moyse 1958, 4) La Grande Velocité: A Progressive Work of Technique Built on Scales and Arpeggios for the Flute by Louis Moyse © 1958 Southern Music. Used by permission ............................................................................................... 29 2.1. Chapter 8, Example 2, alternating tu ru articulations (Hotteterre 1968, 36) .............. 39 2.2. Chapter 8, Example 9, tu ru articulation on the smallest subdivision (Hotteterre 1968, 39) ...................................................................................................................................... 39 2.3. Chapter 8, Example 18, Slurs (Hotteterre 1968, 42) .................................................. 40 vii 2.4. Chapter 8, Example 19, Appoggiaturas (Hotteterre 1968, 43) ................................... 40 2.5. Chapter 8, Example 20, Descending passing tones (Hotteterre 1968, 43) ................. 41 2.6. Chapter 8, Example 21, Springer (Hotteterre 1968, 43) ............................................. 41 2.7. Chapter 8, Example 22, Terminated trill (Hotteterre
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